Guy Debord

{{redirect|Debord|the town in Kentucky|Debord, Kentucky|the American football coach|Mike DeBord|the American football player|Clay DeBord}}

{{Infobox philosopher

|region = Western philosophy

|era = 20th-century philosophy

|image = Debord.gif

|birth_name = Guy Ernest Debord

|birth_date = {{Birth date|1931|12|28|df=y}}

|birth_place = Paris, France

|death_date = {{Death date and age|1994|11|30|1931|12|28|df=y}}

|death_place = Bellevue-la-Montagne, Haute-Loire, France

|education = University of Paris (no degree)

|school_tradition = Continental philosophy
Letterist International
Situationist
Western Marxism/Ultra-left

|main_interests = Class struggle
Commodity fetishism
Reification
Social alienation
Social theory

|notable_ideas = Dérive
Détournement
Psychogeography
Recuperation
Spectacle

|signature = Debord's Will.jpg

}}

Guy-Ernest Debord ({{IPAc-en|d|ə|ˈ|b|ɔr}}; {{IPA|fr|gi dəbɔʁ|lang}}; 28 December 1931 – 30 November 1994) was a French Marxist theorist, philosopher, filmmaker, critic of work, member of the Letterist International, founder of a Letterist faction, and founding member of the Situationist International.{{cite web|url=https://philosophynow.org/issues/14/Dead_Bored_Debords_Dead|title=Dead Bored: Debord's Dead! Andrew Hussey on the death of a turbulent thinker|website=Philosophynow.org|access-date=14 July 2017}}{{Cite web |title=Never Work by Guy Debord 1963 |url=https://www.marxists.org/reference/archive/debord/1963/never-work.htm |access-date=2022-03-01 |website=www.marxists.org}} He was also briefly a member of Socialisme ou Barbarie.

Debord is best known for his 1967 work, The Society of the Spectacle, alongside his direction to the Letterist and Situationist Magazines.

Biography

=Early life=

Guy Debord was born in Paris in 1931. Debord's father, Martial, was a pharmacist who died when Debord was young. Debord's mother, Paulette Rossi, sent Debord to live with his grandmother in her family villa in Italy. During World War II, the Rossis left the villa and began to travel from town to town. As a result, Debord attended high school in Cannes, where he began his interest in film and vandalism.Bourseiller, Christophe. "Vie et Mort de Guy Debord". Agora.

As a young man, Debord actively opposed the French war in Algeria and joined in demonstrations in Paris against it.{{cite web|url=http://www.notbored.org/guillaume.html|title=Pierre Guillaume Remembers Guy Debord|website=Notbored.org|access-date=27 December 2014}} Debord studied law at the University of Paris, but left early and did not complete his university education. After ending his stint at the University of Paris, he began his career as a writer.{{Cite book|title=Guy Debord, Concept of the Spectacle|last=Jappe|first=A|publisher=Berkeley, CA: University of California Press.|year=1999}}

= Involvement with the Lettrists =

Debord joined the Lettrists when he was 18. The Lettrists were led dictatorially by Isidore Isou until a widely agreed upon schism ended Isou's authority. This schism gave rise to several factions. One of them, the Letterist International, was decidedly led by Debord upon Gil Wolman's unequivocal recommendation.Bourseiller, ibid In the 1960s, Debord led the Situationist International group, which influenced the Paris Uprising of 1968, during which he took part in the occupation of the Sorbonne. Some consider his book The Society of the Spectacle (1967) to be a catalyst for the uprising.Andreotti, L. "Review: Leaving the twentieth century: The Situationist International." Journal of Architectural Education, 49(3), p. 197.

=Founding of the Situationist International=

In 1957, the Letterist International, the International Movement for an Imaginist Bauhaus, and the London Psychogeographical Association gathered in Cosio d'Arroscia (Imperia), Italy, to found the Situationist International, with Debord having been the leading representative of the Letterist delegation. Initially made up of a number of well-known artists such as Asger Jorn and Pinot Gallizio, the early days of the SI were heavily focused on the formulation of a critique of art, which would serve as a foundation for the group's future entrance into further political critiques. The SI was known for a number of its interventions in the art world, which included one raid against an international art conference in Belgium during 1958Internationale Situationniste No. 1, June 1958, pages 29–30, that included a large pamphlet drop and significant media coverage, all of which culminated in the arrest of various situationists and sympathizers associated with the scandal. In addition to this action, the SI endeavored to formulate industrial painting, or, painting prepared en masse with the intent of defaming the original value largely associated with the art of the period. In the course of these actions, Debord was heavily involved in the planning and logistical work associated with preparing these interventions, as well as the work for Internationale Situationniste associated with theoretical defense of the Situationist International's actions.Debord, Guy. Correspondence: The Founding of the Situationist International. Semiotext(e). 2008.

=Political phase of the Situationist International=

With Debord's 1967 The Society of the Spectacle and excerpts from the group's journal, Internationale Situationniste, the Situationists began to formulate their theory of the spectacle, which explained the nature of late capitalism's historical decay. In Debord's terms, situationists defined the spectacle as an assemblage of social relations transmitted via the imagery of class power, and as a period of capitalist development wherein "all that was once lived has moved into representation".{{cite web|author=Guy Debord|date=1967|title=Society of the Spectacle|website=marxists.org|url=https://www.marxists.org/reference/archive/debord/society.htm}} With this theory, Debord and the SI would go on to play an influential role in the revolts of May 1968 in France, with many of the protesters drawing their slogans from Situationist tracts penned or influenced by Debord.

Knabb, Ken. Situationist International Anthology. Bureau of Public Secrets, 2007.

Debord, Guy. The Society of the Spectacle. Zone Books, 1995.

=After the Situationist International=

File:In girum imus nocte et consumimur igni.JPG (1990)]]

In 1972, Debord disbanded the Situationist International after its original members, including Asger Jorn and Raoul Vaneigem, quit or were expelled. (Vaneigem wrote a biting criticism of Debord and the International."The Veritable Split in the SI", 1972) Debord then focused on filmmaking with financial backing from the movie mogul and publisher Gérard Lebovici (éditions Champ Libre), until Lebovici's mysterious death. Debord was suspected of Lebovici's murder. He had agreed to have his films released posthumously at the request of the American researcher [https://german.princeton.edu/department/people/faculty/core/thomas-y-levin Thomas Y. Levin]. Accessed 18 July 2024Guy Debord, "Reflections of the Death of Gérard Lebovici"

After dissolving the Situationist International, Debord spent his time reading, and occasionally writing, in relative isolation in a cottage at Champot with Alice Becker-Ho, his second wife. He continued to correspond on political and other issues, notably with Lebovici and the Italian situationist Gianfranco Sanguinetti.{{cite web|url=http://www.notbored.org/debord.html|title=Guy Debord|website=Notbored.org|access-date=27 December 2014}} He focused on reading material relating to war strategies, e.g. Clausewitz and Sun Tzu, and he designed a war game with Alice Becker-Ho.{{cite book|title=Le Jeu de la Guerre: RelevÃ© des positions successives de toutes les forces au cours d'une partie – Guy Debord, Alice Becker-Ho – Livres |id={{ASIN|2070776514|country=fr}} }}

= Death =

Just before his death, Debord filmed (although did not release) the documentary Son art et son temps (His Art and His Times), an autobiography of sorts that focused primarily on social issues in Paris in the 1990s. It has been suggested that his dark depiction of this period was a suicide note of sorts. Both Debord's depression and alcohol consumption had become problematic, resulting in a form of polyneuritis. Perhaps to end the suffering caused by these conditions, Debord died by suicide on 30 November 1994, shooting himself through the heart. This was not the first time he attempted to end his life.{{Cite book|title=Guy Debord and the Situationist International|last=McDonough|year=2002}}

Debord's suicide is as controversial as it is unclear.{{cite news|author=Andrew Hussey |url=https://www.theguardian.com/books/2001/jul/28/biography.artsandhumanities |title=The suicide of Guy Debord | Books |newspaper=The Guardian |access-date=14 July 2017}} Some assert that it was a revolutionary act related to his career. Due to his involvement with the radical Situationist International (SI), as well as his sadness at 'the society as a spectacle' being considered a cliché in later life, many think that Debord felt hopeless about the very society he was trying to shed light on. Debord was said to be "victim of the Spectacle he fought".{{cite news|url=https://www.theguardian.com/books/2001/aug/25/biography.highereducation1|title=The Game of War: The Life and Death of Guy Debord|last=Baker|date=August 2001|newspaper=The Guardian|access-date=14 July 2017}} Among the many commentaries on Debord's demise, one scholar noted: "Guy Debord did not kill himself. He was murdered by the thoughtlessness and selfishness of so-called scholars (primarily trendy lit-criters) who colonized his brilliant ideas and transformed his radical politics into an academic status symbol not worth the pulp it's printed on..."{{cite web|url=https://situationnisteblog.wordpress.com/2014/10/11/transgressions-a-journal-of-urban-exploration-1995-2001/ |title=Transgressions: A Journal of Urban Exploration [1995–2001] |website=Situationnisteblog.wordpress.com |date= 11 October 2014|access-date=14 July 2017}}

Works

=Written works=

Guy Debord's best known works are The Society of the Spectacle and Comments on the Society of the Spectacle.{{cite book |last1=Debord |first1=Guy |title=Comments on the Society of the Spectacle |date=1998 |orig-date=originally 1988 in French |publisher=Verso |location=London |isbn=978-1-84467-672-9|translator-last=Imrie |translator-first=Malcolm}} In addition to these works he wrote a number of autobiographical books including Mémoires, Panégyrique, Cette Mauvaise Réputation..., and Considérations sur l'assassinat de Gérard Lebovici. He was also the author of numerous short pieces, sometimes anonymous, for the journals Potlatch, Les Lèvres Nues, Les Chats Sont Verts, and Internationale Situationniste. The Society of the Spectacle was written in an "interesting prose",{{clarify|date=January 2022}} unlike most writings in that time or of that nature.{{citation needed|date=January 2022}} For Debord, the Spectacle is viewed as false representations in our real lives. The spectacle is a materialized worldview. The spectacle 'subjects human beings to itself'.{{Cite book|title=The Society of the Spectacle|last=Debord|first=Guy|publisher=Canberra : Hobgoblin Press|year=2002}}

Debord was deeply distressed by the hegemony of governments and media over everyday life through mass production and consumption. He criticized both the capitalism of the West and the dictatorial communism of the Eastern Bloc for the lack of autonomy allowed to individuals by both types of governmental structure. Debord postulated that Alienation had gained a new relevance through the invasive forces of the 'spectacle' – "a social relation between people that is mediated by images" consisting of mass media, advertisement, and popular culture. The spectacle is a self-fulfilling control mechanism for society. Debord's analysis developed the notions of "reification" and "commodity fetishism" pioneered by Karl Marx and Georg Lukács.{{Cite web |title=Imbeciles Guide |url=https://ia800506.us.archive.org/11/items/zinelibrary-torrent/ImbecilesGuide.pdf |website=ia800506.us.archive.org}} Semiotics was also a major influence, particularly the work of his contemporary Roland Barthes, who was the first to envisage bourgeois society as a spectacle and to study in detail the political function of fashion within that spectacle.Philippe Sollers "L'antifascisme de Barthes", Le Monde // Hors-Série Roland Barthes, Juillet-Août, 2015 Debord's analysis of "the spectaclist society" probed the historical, economic, and psychological roots of the media and popular culture.

Debord's first book, Mémoires, was bound with a sandpaper cover so that it would damage other books placed next to it.{{cite web|url=http://www.newshelton.com/wet/dry/?p=10356 |title=the new shelton wet/dry |website=Newshelton.com |date=10 January 2013 |access-date=14 July 2017}}

=Films=

Debord began an interest in film early in his life when he lived in Cannes in the late 1940s. Debord recounted that, during his youth, he was allowed to do very little other than attend films. He said that he frequently would leave in the middle of a film screening to go home because films often bored him. Debord joined the Lettrists just as Isidore Isou was producing films and the Lettrists attempted to sabotage Charlie Chaplin's trip to Paris through negative criticism.

Overall, Debord challenged the conventions of filmmaking, prompting his audience to interact with the medium instead of being passive receivers of information. Debord directed his first film, Hurlements en faveur de Sade, in 1952 with the voices of Michèle Bernstein and Gil Wolman. The film has no images; instead, it shows bright white when there is speaking and black when there is not. Long silences separate speaking parts. The film ends with 24 minutes of black silence. People were reported to have become angry and left screenings of this film. The script is composed of quotes appropriated from various sources and made into a montage with a sort of non-linear narrative.{{Cite journal |last1=Winestine |first1=Zack |year=2009 |title=Howls for Guy Debord |journal=Film Quarterly |volume=62 |issue=4 |pages=14–15 |doi=10.1525/fq.2009.62.4.14}}

Later, through the financial support of Michèle Bernstein and Asger Jorn, Debord produced a second film, Sur le passage de quelques personnes à travers une assez courte unité de temps, which combined scenes with his friends and scenes from mass media culture. This integration of Debord's world with mass media culture became a running motif climaxing with "The Society of the Spectacle". Debord wrote the book The Society of the Spectacle before writing the movie. When asked why he made the book into a movie, Debord said, "I don't understand why this surprised people. The book was already written like a script". Debord's last film, "Son Art et Son Temps", was not produced during his lifetime. It worked{{clarify|date=January 2022}} as a final statement where Debord recounted his works and a cultural documentary of "his time".

Hurlements en faveur de Sade (Howls for Sade) 1952
Sur le passage de quelques personnes à travers une assez courte unité de temps (On the Passage of a Few Persons Through a Rather Brief Unity of Time) 1959 (short film, Dansk-Fransk Experimentalfilmskompagni)
Critique de la séparation (Critique of Separation) 1961 (short film, Dansk-Fransk Experimentalfilmskompagni)
La Société du spectacle (Society of the Spectacle) 1973 (Simar Films)
Réfutation de tous les judgements, tant élogieux qu'hostiles, qui ont été jusqu'ici portés sur le film " La Société du spectacle " (Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film "The Society of the Spectacle") 1975 (short film, Simar Films)
{{Interlanguage link|In girum imus nocte et consumimur igni|fr}} (a Latin palindrome meaning "We Go Round and Round in the Night, and Are Consumed by Fire") (Simar Films) 1978 – This film was meant to be Debord's last and is largely autobiographical. The script was reprinted in 2007 in No: A Journal of the Arts.
Guy Debord, son art, son temps (Guy Debord – His Art and His Time) 1994 (a "sabotage television film" by Guy Debord and Brigitte Cornand, Canal Plus)

Complete Cinematic Works (AK Press, 2003, translated and edited by Ken Knabb) includes the scripts for all six of Debord's films, along with related documents and extensive annotations.

Legacy

On 29 January 2009, fifteen years after his death, Christine Albanel, Minister of Culture, classified the archive of his works as a "national treasure" in response to a sale request by Yale University.{{cite web |date=26 February 2009 |title=Sur les archives de Guy Debord |work=Le Jura Libertaire |lang=fr |url=http://juralibertaire.over-blog.com/article-28060152.html |url-status=dead |archive-url=https://web.archive.org/web/20091002091839/http://juralibertaire.over-blog.com/article-28060152.html |archive-date=2 October 2009 |access-date=19 May 2009 }}{{cite news |last=Gallix |first=Andrew |date=18 March 2009 |title=The resurrection of Guy Debord |newspaper=The Guardian |location=London |url=https://www.theguardian.com/books/booksblog/2009/mar/18/guy-debord-situationist-international |access-date=4 May 2010}} The Ministry declared that "he has been one of the most important contemporary thinkers, with a capital place in history of ideas from the second half of the twentieth century."Journal Officiel de la Republique Francaise du 12 fevrier 2009 (texte 120) Similarly, Debord once called The Society of the Spectacle "the most important book of the twentieth century".{{cn|date=January 2025}} He continues to be a canonical and controversial figure particularly among European scholars of radical politics and modern art.{{Citation needed|date=February 2012}}

In a critical appraisal written after Debord's death, Régis Debray characterized his work as derivative of Ludwig Feuerbach (asking, for example, "Had nothing, then, taken place in history and philosophy between 1841 and 1967?") and essentialist, "rest[ing] on the idea of a generic nature, of man's pre-existent essence."Régis Debray, "Remarks on the Spectacle," New Left Review I.214, Nov.–Dec. 1995, pp. 135 and 136. For Debray, Debord's emancipatory vision is abstract and ahistorical: "It disclaims political mediation as a structuring instantiation of collective existence, along with technical mediation as a structuring instantiation of the hominization process. Nor does our author ever speak the language of technology or politics: such silence is typical of the moralist in all ages and climes. He fulminates from afar without taking a look up close."Ibid. pp,. 136–137.

Bibliography

{{cite book |last=Debord |first=Guy |year=1957 |title=Report on the Construction of Situations|title-link=Report on the Construction of Situations }}
Mémoires, 1959 (co-authored by Asger Jorn), reprinted by Allia (2004), {{ISBN|2-84485-143-6}}.
La société du spectacle, 1967, numerous editions; in English: The Society of the Spectacle, Zone Books 1995, {{ISBN|0-942299-79-5}}. Society of the Spectacle, Rebel Press 2004, {{ISBN|0-946061-12-2}}. The Society of the Spectacle: Annotated Edition, Bureau of Public Secrets, 2014, {{ISBN|978-0-939682-06-5}}.
La Véritable Scission dans L'Internationale, Champ Libre, 1972 (co-authored by Gianfranco Sanguinetti); in English: The Real Split in the International, Pluto Press 2003, {{ISBN|0-7453-2128-3}}.
Œuvres cinématographiques complètes, Champ Libre, 1978, new edition in 1994; in English: Complete Cinematic Works: Scripts, Stills, and Documents, AK Press 2003, {{ISBN|1-902593-73-1}}.
Considérations sur l'assassinat de Gérard Lebovici, éditions Gérard Lebovici, 1985; in English: Considerations on the Assassination of Gérard Lebovici, TamTam 2001, {{ISBN|2-85184-156-4}}.
Le Jeu de la Guerre, 1987; in English A Game of War, Atlas Press 2008, {{ISBN|978-1-900565-38-7}}
Commentaires sur la société du spectacle, éditions Gérard Lebovici, 1988; in English: Comments on the Society of the Spectacle, Verso 1990, {{ISBN|0-86091-302-3}}.
Panégyrique volume 1, 1989; in English: Panegyric, Verso 2004, reprinted 2009, {{ISBN|1-85984-665-3}}; in Portuguese: "Panegírico" [2002], {{ISBN|85-87193-77-5}}.
All of Guy Debord's books and films as well as unpublished texts were gathered in a volume of Œuvres, éditions Gallimard, collection Quarto, Paris, 2006.
"The Proletariat as Subject and as Representation"{{cite web |url=http://prole.info/articles/sos_chapter4.html |title=Prole.info |access-date=24 May 2007 |url-status=dead |archive-url=https://web.archive.org/web/20070907231127/http://www.prole.info/articles/sos_chapter4.html |archive-date=7 September 2007 }}

References

External links

{{IMDb name | 0213499 | Guy Debord }}
[http://www.cddc.vt.edu/sionline/index.html Situationist international online] {{Webarchive|url=https://web.archive.org/web/20160905094715/http://www.cddc.vt.edu/sionline/index.html |date=5 September 2016 }}
[http://www.notbored.org/debord.html Letters 1957–1994]
[https://www.academia.edu/3753276/The_Marxist_Critique_of_Religion_in_the_Films_of_Guy_Debord The Marxist Critique of Religion in the Films of Guy Debord]
[https://www.academia.edu/12358215/The_Ghost-God_in_the_Screen_Guy_Debords_Howls_for_Sade Guy Debord's Howls for Sade]
[http://libcom.org/tags/guy-debord Libcom.org/library: Guy Debord archive]
[http://www.nothingness.org/SI/debord.html A brief biography and several texts, including Society of the Spectacle]
[http://www.notbored.org/commentaires.html "Comments on the society of the spectacle" (1988)]
[http://catless.ncl.ac.uk/Obituary/debord.html Guy Debord and the Situationists]
[http://www.ubu.com/sound/debord.html Audio recordings] and [http://www.ubu.com/film/debord.html Films] by Guy Debord at Ubu.web
[https://web.archive.org/web/20071006082321/http://www.radicalphilosophy.com/default.asp?channel_id=2188&editorial_id=10310 Michael Löwy on Guy Debord], in Radical Philosophy
[http://www.philippesollers.net/Debord.html The Strange Life of Guy Debord](French)
[http://members.chello.nl/j.seegers1/situationist/films_debord.html Films] / [http://members.chello.nl/j.seegers1/situationist/writings_debord.html Writings] and [http://members.chello.nl/j.seegers1/situationist/bib_debord.html Literature on Guy Debord] {{Webarchive|url=https://web.archive.org/web/20061019091418/http://members.chello.nl/j.seegers1/situationist/bib_debord.html |date=19 October 2006 }}
[http://www.bopsecrets.org/SI/debord.films/index.htm "On Guy Debord's Films"]
[http://www.sensesofcinema.com/2007/great-directors/debord/ Guy Debord and the Aesthetics of Cine-sabotage]
[https://web.archive.org/web/20110323114807/http://th-rough.eu/writers/plotegher-eng/constructing-situations-guy-debords-detournement-fiction Constructing Situations: Guy Debord's detournement of fiction]
[http://www.classwargames.net/?page_id=149: Class Wargames Presents Guy Debord's The Game of War]